TRIXIE SMITH — Complete Recorded Works In Chronological Order Volume 1 (1922-1924) DOCD-5332 (1995) FLAC (tracks+.cue), lossless

Part of the European Document label's giant prewar blues reissue series includes two Trixie Smith CDs that repackage all of her recordings. The second disc is the preferred acquisition, but Vol. 1 is not without interest. The majority of Smith's recordings (particularly in the early days) were vaudeville and pop songs, but on the relatively rare occasions when she sang a lowdown blues, she fared quite well. The first volume starts out with four numbers that are dated either January or March 1922 here, but are probably from September and November 1921. Trixie Smith improved on records as time went on; her first few numbers have rather dated accompaniment. In fact, despite the presence of pianist James P. Johnson (who is well buried on two numbers), her musicians do not get very stimulating until after the first 20 of the 25 numbers. Most notable among the selections are "He May Be Your Man" (which has some familiar lyrics), "My Man Rocks Me" (a song that would be among Trixie's most famous), the heated "Ride Jockey Ride," and a couple of train songs ("Freight Train Blues" and "Choo Choo Blues"), which would become one of her specialties. This is historic music that set the stage for Trixie's later, generally superior performances.  Scott Yanow
Tracklist :
1    Trixie Smith–    Desperate Blues (take 2) 3:13
2    Trixie Smith–    Trixies Blues 3:09
3    Trixie Smith–    You Missed A Good Woman When You Picked All Over Me (take 2) 3:09
Orchestra – James P. Johnson's Harmony Eight
4    Trixie Smith–    Long Lost, Weary Blues (take 3) 3:03
Orchestra – James P. Johnson's Harmony Eight
5    Trixie Smith–    He May Be Your Man    2:46
6    Trixie Smith–    Pensacola Blues    3:08
7    Trixie Smith–    Give Me That Old Slow Drag 2:51
Orchestra – The Jazz Masters
8    Trixie Smith–    My Man Rocks Me 2:52
Orchestra – The Jazz Masters
9    Trixie Smith, Acc. Her Down Home Syncopators–    "I'm Through" With You (As I Can Be) 3:22
10    Trixie Smith, Acc. Her Down Home Syncopators–    Take It Daddy, Its All Yours 2:45
11    Trixie Smith–    I'm Gonna Get You 3:06
12    Trixie Smith–    2 A.M. Blues 3:16
13    Trixie Smith, Acc. Her Down Home Syncopators–    Log Cabin Blues    3:15
14    Trixie Smith, Acc. Her Down Home Syncopators–    Voo Doo Blues    3:03
15    Trixie Smith, Acc. Her Down Home Syncopators–    Tired Of Waitin' Blues    3:06
16    Trixie Smith, Acc. Her Down Home Syncopators–    Triflin' Blues    2:53
17    Trixie Smith–    I Don't Know And I Don't Care Blues (take 1) 2:49
Orchestra – Fletcher Henderson's Orchestra
18    Trixie Smith, Acc. Her Down Home Syncopators*–    Freight Train Blues    3:05
19    Trixie Smith–    Sorrowful Blues 3:00
Orchestra – Fletcher Henderson's Orchestra
20    Trixie Smith–    Don't Shake It No More (take 2)    3:00
21    Trixie Smith, Acc. Her Down Home Syncopators–    Praying Blues (take 2) 3:10
22    Trixie Smith, Acc. Her Down Home Syncopators–    Ada Jane's Blues 3:06
23    Trixie Smith, Acc. Her Down Home Syncopators–    Ride Jockey Ride 2:55
24    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 2) 3:08
25    Trixie Smith, Acc. Her Down Home Syncopators–    Choo Choo Blues (take 3) 3:04
Credits :
Banjo – Charlie Dixon (tracks: 17 to 19, 21 to 25)
Banjo [Prob.] – Charlie Dixon (tracks: 15, 16)
Clarinet – Buster Bailey (tracks: 23 to 25), Don Redman (tracks: 17 to 19, 21, 22)
Clarinet [Prob.] – Edgar Campbell (3) (tracks: 15, 16)
Cornet [Poss./Or] – Howard Scott (2) (tracks: 21, 22)
Cornet [Prob./Or] – Elmer Chambers (tracks: 21, 22)
Cornet [Prob.] – Elmer Chambers (tracks: 15, 16), Howard Scott (2) (tracks: 17 to 19)
Effects – Unknown Artist (tracks: 18, 24, 25)
Percussion – Unknown Artist (tracks: 22)
Piano – Fletcher Henderson (tracks: 17 to 19, 23 to 25), James P. Johnson (tracks: 3, 4), Unknown Artist (tracks: 20)
Piano [Presumably] – Fletcher Henderson (tracks: 7, 8)
Piano [Prob.] – Fletcher Henderson (tracks: 15, 16, 21, 22)
Tenor Saxophone [Prob.] – Walter Watkins (tracks: 3, 4)
Trombone – Charlie Green (tracks: 21 to 25)
Trombone [Poss.] – Ted Nixon* (tracks: 17 to 19)
Trombone [Prob.] – George Brashear (tracks: 15, 16)
Trumpet – Elmer Chambers (tracks: 23 to 25)
Trumpet [Poss.] – Russell Smith (tracks: 9, 10)
Violin – Unknown Artist (tracks: 20)
Vocals – Trixie Smith

TRIXIE SMITH — Complete Recorded Works In Chronological Order Volume 2 (1925-1939) DOCD-5333 (1995) FLAC (tracks+.cue), lossless

Trixie Smith was a fine vaudeville-style singer who could also do a powerful job on the blues when called for. The second of two Document CDs that contain all of her recordings starts out with 13 selections from 1925. Smith is joined by her "Down Home Syncopators" (actually the Original Memphis Five) on the first two songs, "Everybody Loves My Baby" and "How Come You Do Me Like You Do." She is heard on two sets in which she is joined by a quintet that includes trombonist Charlie Green, clarinetist Buster Bailey and most notably Louis Armstrong, and is featured later in the year with several top Fletcher Henderson sidemen. On these dates, the more memorable selections include the masochistic "You've Got to Beat Me to Keep Me," "He Likes It Slow" and her classic train song "Railroad Blues." There are also two takes of "Messin' Around" from 1926 in which Trixie is heard as part of Jimmy Blythe's Ragamuffins, a band including clarinetist Johnny Dodds and the legendary cornetist Freddie Keppard. The final eight selections on this 23-cut CD are taken from Smith's May 26, 1938 session, with one number, "No Good Man," dating from the following year and finding her assisted by a band that includes trumpeter Henry "Red" Allen and clarinetist Barney Bigard. The 1938 set matches Trixie with the fiery young trumpeter Charlie Shavers, a restrained Sidney Bechet on soprano, and a four-piece rhythm section. Although she had not recorded in a dozen years, Trixie Smith is in prime form on such numbers as "Freight Train Blues," two versions of "My Daddy Rocks Me" and "He May Be Your Man (But He Comes to See Me Sometime)." Apparently an alcohol problem shortened both Smith's career and life, but one does not hear any decline during these excellent performances. Highly recommended, while the less essential Vol. 1 is worth picking up too. Scott Yanow
Tracklist :
1    Trixie's Down Home Syncopators – Everybody Loves My Baby (Take 6) 2:49
2    Trixie's Down Home Syncopators – How Come You Do Me Like You Do (Take 6) 3:00
3    Trixie Smith, Acc. Her Down Home Syncopators – You've Got To Beat Me To Keep Me    3:02
4    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 1) 3:00
5    Trixie Smith, Acc. Her Down Home Syncopators –    Mining Camp Blues (Take 2) 2:53
6    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 1)    3:00
7    Trixie Smith, Acc. Her Down Home Syncopators –    The World's Jazz Crazy And So Am I (Take 2)    3:00
8    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 1)    2:56
9    Trixie Smith, Acc. Her Down Home Syncopators –    Railroad Blues (Take 2)    2:52
10    Trixie Smith–    Everybody's Doing That Charleston Now (Take 1) 3:07
Orchestra – Fletcher Henderson's Orchestra
11    Trixie Smith–    He Likes It Slow (Take 2) 2:51
Orchestra – Fletcher Henderson's Orchestra
12    Trixie Smith–    Black Bottom Hop 2:52
Orchestra – Fletcher Henderson's Orchestra
13    Trixie Smith–    Love Me Like You Used To Do 2:47
Orchestra – Fletcher Henderson's Orchestra
14    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 1)    2:55
15    Jimmy Blythe And His Ragamuffins–    Messin' Around (Take 2)    2:51
16    Trixie Smith–    Freight Train Blues    3:13
17    Trixie Smith–    Trixie Blues    3:09
18    Trixie Smith–    My Daddy Rocks Me    2:50
19    Trixie Smith–    My Daddy Rocks Me No. 2    2:47
20    Trixie Smith–    He May Be Your Man (But He Comes To See Me Sometime)    2:40
21    Trixie Smith–    Jack I'm Mellow    2:39
22    Trixie Smith–    My Unusual Man    2:43
23    Trixie Smith–    No Good Man    2:46
Credits :
Banjo – Charlie Dixon (tracks: 3 to 13)
Bass – Richard Fullbright (tracks: 16 to 22), Unknown Artist (tracks: 23)
Brass Bass – Ralph Escudero (tracks: 10 to 13)
Clarinet – Barney Bigard (tracks: 23), Buster Bailey (tracks: 3 to 13)
Clarinet [Prob.] – Jimmy Lytell (tracks: 1, 2)
Clarinet, Alto Saxophone – Johnny Dodds (tracks: 14, 15)
Clarinet, Soprano Saxophone – Sidney Bechet (tracks: 16 to 22)
Cornet – Freddie Keppard (tracks: 14, 15), Joe Smith (tracks: 10 to 13), Louis Armstrong (tracks: 3 to 9)
Drums – O'Neill Spencer (tracks: 16 to 22)
Drums [Prob.] – Jack Roth (tracks: 1, 2), Sidney Catlett (tracks: 23)
Guitar – Teddy Bunn (tracks: 16 to 22), Unknown Artist (tracks: 23)
Percussion [Tapping] – Unknown Artist (tracks: 11)
Piano – Fletcher Henderson (tracks: 3 to 13), Jimmy Blythe (tracks: 14, 15), Sammy Price (tracks: 16 to 22), Unknown Artist (tracks: 23)
Piano [Prob.] – Frank Signorelli (tracks: 1, 2)
Trombone – Charlie Green (tracks: 3 to 13), Miff Mole (tracks: 1, 2)
Trombone [Poss.] – Roy Palmer (tracks: 14, 15)
Trumpet – Charlie Shavers (tracks: 16 to 22)
Trumpet [Prob.] – Henry "Red" Allen (tracks: 23), Phil Napoleon (tracks: 1, 2)
Vocals – Trixie Smith
Wood Block – Jasper Taylor (tracks: 14, 15)

BESSIE SMITH – 1923-1924 | The Classics Chronological Series – 787 (1994) FLAC (tracks+.cue), lossless

For sheer power, substance and depth, there is nothing in the world quite like the voice of Bessie Smith. Any portion of her recorded legacy can be rewarding if the listener takes the time to contemplate the interplay between singer and accompanists while the theatrical tale of each song unfurls itself. This particular grouping of 24 recordings made between October 1923 and August 1924 reveals a visceral young woman on her way to completely dominating the scene as the definitive female blues singer of the 1920s. One of the great delights in studying Smith's music is the science of paying attention to her backing instrumentalists. Fletcher Henderson, who accompanied so many blues vocalists throughout the early '20s, sounds like he's in perfect accord with the singer on "Any Woman's Blues." Teamed with Don Redman on six titles, Henderson blows on a siren whistle during the "Haunted House Blues," causing Smith to holler "Lord, help us to get right!" Harry Reser, banjo/guitar ace and leader of various hunky-dory novelty groups including the Cliquot Club Eskimos, appears twice on this CD, providing exceptionally fine accompaniment and incidentally doing his part to break up the color line six years before Eddie Condon recorded with a racially mixed group for Victor. The disc finishes off with four selections featuring trombonist Big Charlie Green, arguably the most sympathetic instrumentalist that Smith ever worked with. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1924-1925 | The Classics Chronological Series – 812 (1995) FLAC (tracks+.cue), lossless

This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic. There are clarinet duets by Buster Bailey and Don Redman, passionate trombone passages by Big Charlie Green, and a series of nine collaborations with young Louis Armstrong. The Smith/Armstrong combination was powerful and in some ways formidable. "St. Louis Blues," rendered mysterious by Fred Longshaw's reed organ accompaniment, is perhaps their mutual masterpiece, along with "You've Been a Good Old Wagon," a barrelhouse slow drag published in 1895. On May 5 and 6, 1925, Bessie Smith waxed two of her all-time best records, W.C. Handy's "Yellow Dog Blues" and the bouncing "Cake Walkin' Babies (From Home)." She was backed by Henderson's Hot Six, a mob that included a young saxophonist by the name of Coleman Hawkins. The rowdiest moments of the entire compilation occur during "Soft Pedal Blues," a slow and hedonistic number describing a buffet flat where wild parties were held, sometimes featuring live sex shows. Several times during this song the singer seems to relish the memory of these events, as she hauls off and delivers a throaty "yaahoooo!" as if to prove that no worldly pleasure was off limits. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1925-1927 | The Classics Chronological Series – 843 (1995) FLAC (tracks+.cue), lossless

The Empress of the Blues is heard here in all her prime from 1925-1927. While also touring the country in the Harlem Frolics tent show during this time, Smith laid down hundreds of tracks in New York studios. These 24 performances feature such jazz luminaries of the day as pianist Fletcher Henderson, trumpeter Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey (the latter three men all played in Henderson's groundbreaking band of the day). Also on hand are Gotham legend and pianist James P. Johnson and songwriter extraordinaire Clarence Williams (along with such '20s classics as "Royal Garden Blues," "'Taint Nobobdy's Business if I Do," and "Everybody Loves My Baby," Williams penned a handful of the tracks covered here, including his collaboration with Fats Waller, "Just Squeeze Me"). Smith is powerful and in total command throughout, churning out her jazz-tinged blues on such standouts as "Backwater Blues," "The Gin House Blues," and "Hard Driving Papa." A must for all Smith devotees. Stephen Cook  
Tracklist + Credits :

BESSIE SMITH – 1928-1929 | The Classics Chronological Series – 897 (1996) FLAC (tracks+.cue), lossless

One of the greatest partnerships in all of recorded blues was the teaming up of Bessie Smith and champion trombone man Big Charlie Green. Their collaboration is well represented by the opening tracks on this volume of the chronologically reissued recordings of Bessie Smith. "Empty Bed Blues, Pt. 2" opens with a lurching, grinding trombone ostinato that matches perfectly the spirit and texture of Smith's testimonial. "Put It Right Here" could serve as the best example on record of this singer's irresistible way of presenting a song. The timing is perfect and the humorous lyrics are accentuated by the trombone with great precision. Somebody ought to put out a CD consisting of every record these two people ever made together. The next session in Smith's story took place on August 23, 1928. "Yes Indeed He Do" would be closely imitated four years later in the group singalong "Yes Suh!" as performed by Billy Banks and Jack Bland's Rhythmakers. Five records cut on August 24th handle the topics of social inequality, interpersonal relationships, and alcoholism. On "Poor Man's Blues" Smith speaks directly to the wealthy, and during "Washerwoman's Blues" she discusses the combined problems of race and class. "Me and My Gin" paints a grim portrait of the addict and her mental condition. Cornered and besotted, Smith vows to take on the Army and the Navy armed only with her bottle of fermented spirits. On May 8, 1929, guitarist Eddie Lang and pianist Clarence Williams assisted in the creation of three delightfully smutty sides dwelling on Smith's sexual appetite. The sound of Lang's guitar percolating along with her voice makes these selections especially nice. "I've Got What It Takes" and "Nobody Knows You" are two of Smith's toughest performances on record. Having what amounted to Clarence Williams' Blue Five backing her up seems to have given the singer solid support for self-expression. Anyone who has seen the motion picture St. Louis Blues will cherish the film soundtrack included in this chronology. The singer stands at the bar in a saloon, crying -- and singing -- into a mug of beer. The drama of a strong woman at the mercy of a man without any conscience is played out on the screen and can be envisioned by the listener. The 40-voice Hall Johnson Choir roars away behind Smith as she sways miserably. A hot band led by James P. Johnson wails with abandon as acrobatic waiters spin and tumble through the crowd without upsetting their trays full of drinks. Smith's no-good man shows up, appears to reconcile with her, and does a slow dance in her arms, but then pushes her away and laughs derisively while brandishing a wad of cash he has snatched from her purse! Everyone ought to see this film at least once. There are distortion problems with the soundtrack as presented here, and the nearly 11-minute sequence has been unnecessarily portioned into four segments -- a too-faithful reproduction of the Circle Records issue -- even though the uninterrupted soundtrack is available elsewhere. The disc closes with "Take It Right Back" -- featuring one of Clarence Williams' best piano accompaniments -- and a pair of lusty tunes with even finer piano by James P. Johnson. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1929-1933 | The Classics Chronological Series – 977 (1997) FLAC (tracks+.cue), lossless

These 24 tracks represent the last phase of Bessie Smith's recording career. Over the course of ten years and 160 great songs, Smith had without a doubt earned her place as the Empress of the Blues. Unfortunately, until her passing in 1937, she spent most of her time on the show circuit. For fans hungry for a healthy dose of her legacy, though, generous discs such as this provide a chance to revel in the classic female blues singing queen's lusty power. As usual, Smith is helped out by the day's jazz royalty. Featured over the course of the cuts here -- many penned by both Smith and pianist Clarence Williams -- are such top soloists as Benny Goodman, Chu Berry, James P. Johnson, and Frankie Newton. Of course, Smith grabs most of the attention, especially on definitive sides like "Gimme a Pigfoot" and "Black Mountain Blues," not to mention the ribald gem "Need a Little Sugar in My Bowl." And as far as sound quality goes, this and many other of the discs in the Classics chronological series provide a viable alternative to Columbia's celebrated Complete Recordings line. Stephen Cook  
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1924, Vol. 3 | The Classics Chronological Series – 647 (1992) FLAC (tracks+.cue), lossless

During the autumn of 1924, Fletcher Henderson's Orchestra continued to make hot little records for many different labels. The front line begins to look impressive, with trombonist Big Charlie Green sitting not far from Coleman Hawkins and Don Redman. "Forsaken Blues" has an ooh-wacka-ooh brass line and a big nasty bass sax solo by Hawkins after someone -- probably Redman -- makes a noise like an enraged ferret. On the catchy "Cold Mamas (Burn Me Up)," the bass sax is accompanied by a goofus, or melodica, played by the ever-resourceful Redman. Conventional jazz history states that the addition of Louis Armstrong to the Henderson orchestra in September of 1924 initiated a change in this organization's overall chemistry, which would soon become evident. This particular CD provides audible evidence. The diminutive trumpeter from New Orleans-cum-Chicago really did transform Henderson's band beginning with his participation in the session of October 7, 1924. First heard on "Manda," composed by Noble Sissle and Eubie Blake, Armstrong stands out as King Oliver's right-hand man. "Go 'Long, Mule" has a bizarre novelty solo by Redman using only the mouthpiece of his horn to generate a sort of Punch & Judy cartoon voice. Four tunes recorded for Pathe Actuelle on October 13, 1924, are notable for the insistent burping sound of Ralph Escudero's tuba. The exciting "Shanghai Shuffle" comes across in two distinctive interpretations, with an oboe solo by Redman on the first version. "Copenhagen" is real jazz with a hot solo from Armstrong, strong trombone breaks from Charlie Green, and a Redman arrangement to make it cook properly. The first of three versions of "Naughty Man" has a fine solo by Green, while on the second he seems to be getting his licks in quickly, and by version number three he muscles in for two solo breaks. But the real highlight here is definitely Armstrong. Everything he blows is remarkably fine, and it's easy to see why he quickly went from being an object of ridicule to the most imitated musician in all of jazz. The man had a lot of soul, and his solos -- along with Redman's arrangements -- quickly transformed Henderson's records from run-of-the-mill dance music into real jazz. The crowning glory on this CD is "Everybody Loves My Baby," both an instrumental take and Armstrong's very first recorded vocal, consisting of merrily shouted outbursts during the coda. Listening to all of these sides in sequence, it is obvious what a difference Louis Armstrong made in this band, and the chronology spells it out unmistakably. arwulf arwulf  
Tracklist + Credits : 

FLETCHER HENDERSON AND HIS ORCHESTRA – 1924-1925 | The Classics Chronological Series – 633 (1992) FLAC (tracks+.cue), lossless

This excellent European LP contains 14 performances (including three alternate takes) from Armstrong's period with Fletcher Henderson's orchestra. Most of these selections are fairly rare (such as "My Rose Marie," "Twelfth Street Blues" and "Me Neenyah") and only one performance is duplicated from the CD Fletcher Henderson (1924-1927). Almost all of these cuts have memorable Louis Armstrong solos that easily take honors and are state-of-the-art for 1925. Scott Yanow
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1925-1926 | The Classics Chronological Series – 610 (1991) FLAC (tracks+.cue), lossless

The Classics series has undergone the admirable task of reissuing on CD in chronological order every selection (although no alternate takes) of Fletcher Henderson's orchestra. This set finds the post-Armstrong edition of this pacesetting big band swinging hard on a variety of standards and obscurities. With cornetist Joe Smith, trombonist Charlie Green, clarinetist Buster Bailey and tenor great Coleman Hawkins contributing many fine solos and Don Redman's often-innovative arrangements inspiring the musicians, at this period Fletcher Henderson's orchestra had no close competitors among jazz-oriented big bands. Even the weaker pop tunes (like "I Want to See a Little More of What I Saw in Arkansas") have their strong moments. Scott Yanow
Tracklist + Credits :

FLETCHER HENDERSON AND HIS ORCHESTRA – 1927-1931 | The Classics Chronological Series – 572 (1991) FLAC (tracks+.cue), lossless

 With its high musicianship and many talented soloists (including trumpeters Rex Stewart and Bobby Stark, trombonist Jimmy Harrison, Coleman Hawkins on tenor, and altoist Benny Carter), the Fletcher Henderson Orchestra should have prospered during this period, but unaccountably, its leader (never a strong businessman) seemed to be losing interest in the band's fortunes and made several bad decisions. The result is that by 1931, Henderson's orchestra was struggling while Duke Ellington's was becoming a household name. This Classics CD, in covering over three years, demonstrates how few recordings this band made (only four songs apiece in both 1929 and 1930), although the quality largely makes up for the quantity. The original band version of "King Porter Stomp" and an explosive "Oh Baby" are the high points of this satisfying collection. Scott Yanow
Tracklist + Credits :